Andreas Eriksson
10 Oct 2008 - 11 Jan 2009
Andreas Eriksson, Diptychon, 2008, C-print, oil and acrylic on aluminium, Courtesy Galleri Riis, Oslo, Photo: MUMOK/Lena Deinhardstein, © VBK Wien, 2008
ANDREAS ERIKSSON
"Walking the dog - lying on the sofa"
10.10.08 - 11.01.09
Opening: October 9, 2008–7.00 p.m.
An endowment from the Bâloise – Holding, 2008
With the exhibition ‘walking the dog – lying on the sofa’ the MUMOK is presenting over 30 paintings, photographs and sculptures by the young Swedish artist Andreas Eriksson, born in 1975 in Björsäter, who received the prestigious 2007 'Baloise Art Prize' at Art Basel. As with the preceding prize-winners, Ryan Gander (2005) and Keren Cytter (2006), the Swiss Bâloise Group made the museum a gift of the artist’s prize-winning work.
Andreas Eriksson’s work is fascinating in its apparently outmoded – and thus new – approach. In a clamorous art business which is hungry for sensation his works are touching as a quietly poetic antipole. The starting point and content of his art is the experience of nature which he reacts to with sensitivity and into which he projects his own notions. After decades in which art has mainly been informed by critical/analytical and deconstructive positions, his approach is much more determined by experiential possibilities – such as empathy, emotion and introspection – that have long been assigned to the background and, in many respects, even deprecated.
Curator
Eva Badura-Triska
"Walking the dog - lying on the sofa"
10.10.08 - 11.01.09
Opening: October 9, 2008–7.00 p.m.
An endowment from the Bâloise – Holding, 2008
With the exhibition ‘walking the dog – lying on the sofa’ the MUMOK is presenting over 30 paintings, photographs and sculptures by the young Swedish artist Andreas Eriksson, born in 1975 in Björsäter, who received the prestigious 2007 'Baloise Art Prize' at Art Basel. As with the preceding prize-winners, Ryan Gander (2005) and Keren Cytter (2006), the Swiss Bâloise Group made the museum a gift of the artist’s prize-winning work.
Andreas Eriksson’s work is fascinating in its apparently outmoded – and thus new – approach. In a clamorous art business which is hungry for sensation his works are touching as a quietly poetic antipole. The starting point and content of his art is the experience of nature which he reacts to with sensitivity and into which he projects his own notions. After decades in which art has mainly been informed by critical/analytical and deconstructive positions, his approach is much more determined by experiential possibilities – such as empathy, emotion and introspection – that have long been assigned to the background and, in many respects, even deprecated.
Curator
Eva Badura-Triska